Antonello da Messina, properly Antonello di Giovanni di Antonio, but also called Antonello degli Antoni and Anglicized as Anthony of Messina (c. 1430 – February 1479), was an Italian painter from Messina, Sicily, active during the Italian Renaissance. His work shows strong influences from Early Netherlandish painting although there is no documentary evidence that he ever travelled beyond Italy. Giorgio Vasari credited him with the introduction of oil painting into Italy. Unusually for a south Italian artist of the Renaissance, his work proved influential on painters in northern Italy, especially in Venice.

Antonello was born at Messina around 1429–1431, to Garita (Margherita) and Giovanni de Antonio Mazonus.

According to a letter written in 1524 by the Neapolitan humanist Pietro Summonte, in about 1450 he was a pupil of the painter Niccolò Colantonio at Naples, where Netherlandish painting was then fashionable. This account of his training is accepted by most art historians.

Antonello returned to Messina from Naples during the 1450s. In around 1455 he painted the so-called Sibiu Crucifixion, inspired by Flemish treatments of the subject, which is now in the Muzeul de Artǎ in Bucharest. A Crucifixion in the Royal Museum of Antwerp dates from the same period. These early works shows a marked Flemish influence, which is now understood to be inspired by his master Colantonio and from paintings by Rogier van der Weyden and Jan van Eyck that belonged to Colantonio's patron, Alfonso V of Aragon.

In his biography of the artist, Giorgio Vasari remarked that Antonello saw an oil painting by Jan Van Eyck (the Lomellini Tryptych) belonging to King Alfonso V of Aragon at Naples. Another theory, supported only by vague documentary evidence, suggests that in 1456 Antonello visited Milan, where he might have met Van Eyck's most accomplished follower, Petrus Christus. Since Antonello was one of the first Italians to master Eyckian oil painting, and Christus was the first Netherlandish painter to learn Italian linear perspective, such a meeting would be a convenient explanation for the evolution of the styles of both artists. However, neither is known for certain to have been in Milan at the time.

Between the years of 1456 and 1457, Antonello proved himself to be a master painter in Messina. He also shared his home with Paolo di Ciacio, a student from Calabria. The artist's earliest documented commission, in 1457, was for a banner for the Confraternità di San Michele dei Gerbini in Reggio Calabria, where he set up a workshop for the production of such banners and devotional images. At this date, he was already married, and his son Jacobello had been born.

In 1460, his father is mentioned leasing a brigantine to bring back Antonello and his family from Amantea in Calabria. In that year, Antonello painted the so-called Salting Madonna, in which standard iconography and Flemish style are combined with a greater attention in the volumetric proportions of the figures, probably indicating a knowledge of works by Piero della Francesca. Also from around 1460 are two small panels depicting Abraham Served by the Angels and St. Jerome Penitent now in the Museo Nazionale della Magna Grecia in Reggio Calabria. In 1461 Antonello's younger brother Giordano entered his workshop, signing a three-year contract. In that year Antonello painted a Madonna with Child for the Messinese nobleman Giovanni Mirulla, now lost.

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